Save Rock And Roll
Reviewed by:
takenthecannoli, on april 19, 2013 22 of 30 people found this review helpful

Sound: Chicago's Fall Out Boy came to the attention of a mainstream audience with sophomore LP "From Under The Cork Tree" and its just-emo-enough single "Sugar, We're Going Down". In a time when pop-punk was still riding the wave of Sum 41, Blink-182, and Green Day, Fall Out Boy were right at home altering the formula slightly for a heavier and more emotionally-driven sound. "Infinity On High" and "Folie A Deux" expanded upon the band's multi-platinum success; each received arguably less attention than the one before, though the latter especially was wonderfully received by critics.
By 2008's "Folie", Fall Out Boy had evolved beyond its essentially pop-punk roots to a more vocally-driven, somewhat industrial-pop influenced sound. This opened the floodgates for the band's sonic future, though in 2009 the band broke from recording and touring indefinitely. None separated from the musical community, and singer/guitarist Patrick Stump (who was anxious to record "Infinity On High" months before it happened) kept the pace especially, releasing "Soul Punk" in 2011 under his name. Like "Folie", it was mostly well-received but received little attention otherwise. After weeks of persistent Fall Out Boy reunion rumors in late 2012 and early 2013, the band announced its comeback and new record, "Save Rock And Roll".
Dismissing the title for the time being, this record is first and foremost most definitely not "rock and roll" (incidentally, one wonders when the "and" was inserted). Rather, as in the case of recent-reunited Blink-182, it is a continuation of its predecessor. Whatever expectations might have been reserved for a "return to the old sound", as fan communities continue to deceive themselves into believing in, are utterly she'd as "The Phoenix" fades in with strings more reminiscent of "W.A.M.S." or "Thnks Fr Th Mmrs" than anything before. Unlike "Infinity On High", however, the production is bombast and the instrumentation is enough to blow out iPod headphones that "Take This To Your Grave" barely fills. There are some similarities to "Soul Punk", especially with Stump's overwhelming presence from "The Phoenix" to the titular closer. This will almost certainly put off the fans of "Cork Tree" (now potentially well over the minimum age to drink away their disappointment) and thrill fans, both die-hard and casual, of "Folie" and "Soul Punk".
Despite its placement firmly following Stump's solo work, there are marked differences, the greatest arguably being increased production value. Likewise, "Save Rock And Roll" is a vast departure even from "Folie A Deux" and its characteristically left-field experimentation - specifically, guitars are tuned down to a near zero. With the exception of a couple of solos and "The Mighty Fall" 's driving riff, the guitars are used about as much as any non-percussive instrument: a spice, rather than the meat. Though it certainly wasn't always a driving force, the guitar was at least twice as present on the very-electronic "Soul Punk". On that note, "Save Rock And Roll" ditches most of Stump's love affair with the electronic keyboard for the better. The resulting product is certainly more pop-and-bass-driven than Fall Out Boy's previous work (perhaps bassist/lyricist Pete Wentz stepped up when he realized Stump was just as good a writer as he), but not necessarily more electronic.
Buyer beware: "Save Rock And Roll" isn't all happy reunions and violent pop-driven tunes like "The Phoenix". Beginning with "Alone Together", the distinct impression sets in that there's less to bite in this apple than Fall Out Boy typically advertises. The epiphany comes at a repeated "Yeah, yeah, yeah" effect near the end: it's a cut, rather than a distinct vocal repetition. This is the kind of silly production found all over 21st century pop airwaves, and it's somewhat disappointing that this is coming from the same band as "What A Catch, Donnie" and "XO". "Where Did The Party Go" is similarly light in the loafers, with plenty of very easy choices made in production and composition. Put lightly, it's just a pop song. It isn't until Stump takes the helm that "Save Rock And Roll" becomes exciting, as "Just One Yesterday" makes quite clear.
If "Folie A Deux" had too many guest spots, "Save Rock And Roll" should take the cake for keeping them on mic for too long. "The Mighty Fall" begins with Big Sean exclaiming "Oh, God", and listeners may find a similar sigh on their lips. Though Stump's impassioned verses almost saves the track, the cameo is just too much. Where it certainly fits the genre, the jury's out as to whether random rapper appearances sit well on a release by a rock band, even if said release isn't exactly rock. Rap isn't your thing? Have no fear: Kurt Cobain's murderer I mean widow rants through "Rat A Tat" for... no apparent reason. Once again, the awfulness of the track's guest is introduced with Stump's unintentionally ironic "Are you ready for another bad poem?". Elton John is neither here nor there in the title track, though considering the content, one can't help but wonder if he was supposed to be the rock 'n' roll.
Speaking of "Save Rock And Roll" (the song), the album is strangely devoid of an emotional core. Oh, this happens all the time with other acts, but the kings of pop-punk/emo/whatever singles? Surely, it's impossible. You'd better believe it: "Save Rock And Roll" is the one and only truly vulnerable track here. Sure, "Just One Yesterday" has a nice chorus and "Young Volcanoes" is terrible-but-sweet, but there's nothing mellow about "Save Rock And Roll" even when it's moving through the mud, it just won't stop. This is especially remarkable with "Golden" and "What A Catch, Donnie" competing from Fall Out Boy past. At times, it creates that "please like me" effect, though because of the record's own brevity this doesn't last for nearly as long as on "Infinity".
Altogether, there certainly isn't anything wrong with "Save Rock And Roll", whether released by Fall Out Boy or competitors in the genre. When they do it well, they do it best "The Phoenix", "Just One Yesterday", and "Miss Missing You" are particular gems but when it falls flat, it's nothing short of uncomfortable. "Young Volcanoes" is weak, being the standard bright-eyed-bushy-tailed acoustic guitar pop love song. It's just one example of "Save Rock And Roll" exploring, perhaps, too much of itself: good and bad. "Folie" and "Soul Punk" each knew what they wanted to achieve, and certainly did. Fall Out Boy releases prior to 2008 had the same sense of purpose. "Save Rock and Roll" lacks this. The subject matter and musical composition seem to have little foundation apart from the genre into which they are placed. Some of it is great stuff, but the record as a whole fails in ways none of the band's previous releases do. // 7

Lyrics: I suspect that after "Soul Punk", Pete Wentz was faced with a concept utterly new to him: someone can write just as well, if not better, than he can. As a result again, all theoretical he really stepped to the plate with "Save Rock And Roll". Without a doubt, some of the old cliches (hearkening back to "Cork Tree") return, but with a grace and power neither "Infinity" nor "Folie" touched on. Whether it's simple revelations ("Sometimes, the person you take a bullet for is behind the trigger") or some of "Infinity"'s dark imagery ("See how dirty I can get them/Pulling out their fragile teeth/And clip their tiny wings"), the record hits a home runs on nearly every track. In fact, in some places the music actually gets in the way of some of the better lyrical moments; notably, "Alone Together" and "Miss Missing You" may have benefit from a step down from their grandeur in favor of Wentz's charming lyricism. Some moments are touching enough that listeners may find the music invasive, as fun as some of it is. Considering the flak Wentz has, on the occasion, received from more adult listeners, it is truly a shame that once he finally hits it hard, the music oversteps itself something the composition on these records rarely does at all, let alone to the detriment of the lyrical work.
Anyone familiar with "Folie" and "Soul Punk" knows full well that Patrick Stump has stepped up as a singer; here, he does it in spades. "The Phoenix" and "The Mighty Fall" are triumphant; "Just One Yesterday" and the title track are moving; weaker tracks such as "Death Valley" and "Where Did The Party Go" are saved by the vocal work. The only criticism to offer Stump is that the tracks required saving in the first place. "Save Rock And Roll" is, for all intents and purposes, Stump's album. Wentz may have penned the words, but he delivers them with the confidence of Freddie Mercury and the bite of Michael Jackson's "Bad". Forget Adele and Ke$ha; this decade's pop voice is Patrick Stump. From the dull debut of "Evening Out With Your Girlfriend" and the chest in "Take This To Your Grave" to spectacular work on "Folie" and "Soul Punk", Stump's evolution is a marvel and so is his work here.
The guest spots deserve a brief spotlight in the lyrical department, since their work is the weakest here. Whether Wentz could have used a highlight in "Alone Together" is the last question on mind when Big Sean comes into "The Mighty Fall". The appearance is utterly unnecessary, and the track's bridge could easily have been reworked. The album's worst line comes from Big Sean's rant (disregarding the man's comedic intent, it isn't a rap): "Hell yeah I'm a d-ck, girl/Addicted to you". This is the pinnacle of every dignified critic's disdain for Wentz, and it isn't even his line. It's a terrible pun, whether meant seriously or not (apparently Big Sean is a comedic genius). But it gets worse. "It's Courtney, b-tch" announces Courtney Love at the outset of "Rat A Tat". After that are (ironic) allusions to suicide, PowerPoint, and get this an emotionally challenged ambiguous "she" character. You don't say! The rest of the track is alright, but those monologues are pretty grating. Elton John is neither here nor there in "Save Rock And Roll"; it's a nice cameo in the same sense that Elvis Costello in "What A Catch, Donnie" was. Like much on this record, however, it is arguably unnecessary and risks compromising the record's identity, especially considering that the last note in the record belongs to John himself. // 7

Overall Impression: Before closing, there is an elephant in the room, and its name is "Save Rock and Roll". Skepticism of the title is not uncommon, whether taken seriously or in jest. Does the record save rock 'n' roll? Does it intend to? If so, how? If not, what does it do? The answer, perhaps, is in the closing track. Wentz has spoken on the subject, stating "... We do want to promote little-R rock 'n' roll, which is an attitude, a perspective on life." Astoundingly, he followed this up with "We feel like little-R rock 'n' roll is 2 Chainz and Kanye West and Lena Dunham and people like that." (As an aside, perhaps he really needed the lyrical image resurrection here, because his uncomfortable presence in the media sure hasn't changed.) That was about the impression left by the actual lyrical work on the title track. "Wherever I go, go/Trouble seems to follow/I only plugged in to save rock 'n' roll" is suggestive of a dying movement and its desperate followers. To some degree, perhaps that's what rock 'n' roll (or any musical following) can deteriorate to: a few emotionally attached survivors clinging to its survival. On the other hand, perhaps it's about something more profound than a musical genre: specifically, the ability of an individual (or group) to affect change, to dream, and to accept oneself despite failure in endeavors like "saving" rock 'n' roll. In any case, it's a fantastic track.
"Save Rock And Roll" isn't necessarily a comeback album. Fall Out Boy never broke up; they didn't need a "comeback". It isn't their classic pop staple. It isn't saving anything.
So what is it?
Well... Not much. Sure, there are some hits. "The Phoenix" is their strongest opener, "Save Rock And Roll" is one of their most profound tracks, and "Just One Yesterday" had damn well better dignify Stump in the eyes of the critical community. There are also some misses and some moments that require a second listening to really remember. Where "Save Rock And Roll" succeeds because of "Save Rock And Roll". It also fails for the same reason. Suddenly dropping a profound message, as though this was the point all along (did M. Night Shyamalan produce this record?), feels misplaced on an album full of not-so-profound tracks about love and anger and whatever other mono-dimensional messages pop typically sports. After Fall Out Boy's generally linear construction of albums, it feels almost as disjointed as one might expect from a compilation. There isn't a singularly slow-breathing moment until the finale, which is also the most balls-out of the bunch. It feels purposeless.
Every track on "Save Rock And Roll" is a dream of pop composition. Stump is a dream of pop singing. Wentz is even a real cut above here. But "Save Rock And Roll" is truly no more than the sum of its parts. Those parts are more than worth the wait, to be certain, but anyone looking for the next "Folie" (the next "Cork Tree", if you're still on that) isn't going to be left with much more than a pleasant listening experience and the triumphant feeling that their favorite pop/punk band is finally going to be taken seriously (or not). // 5

Save Rock And Roll
Reviewed by:
UG Team, on april 16, 2013 10 of 24 people found this review helpful

Sound: If there's one thing Fall Out Boy deserve credit for, it's making sure that even their greatest enemies are talking about them. Love and hate defined their first wind as a goofy pop-punk outfit, but the conversation didn't stop when they went on hiatus in 2009 and as much as they'd hate to it admit it, everybody including UG readers was waiting with baited breath to dissect the title and circumstances of comeback album "Save Rock And Roll". Only unimaginative writers will grant that much attention to the title - those who know the band, and especially their propensity for silly names, will take the pinch of salt and focus on the music.
As was foretold by the singles (or even further back, the soulful, camp and utterly divine "Folie À Deux") this is Fall Out Boy's emancipation from rock. The live band dynamic is dismantled, the trusty powerchord left behind, and in its place rises an assertive and occasionally callous take on mechanical mainstream pop. The most striking thing, besides the remarkable presence of Elton John on the title track, is that so much of it is electronic. Drum machines, processed vocals, chopped samples and synthesisers are all mixed into the palette of new producer Butch Walker. With credits including Taylor Swift, Avril Lavigne and Weezer's "Raditude", Walker has a history of sucking the soul out of established artists but the best he can do with Fall Out Boy is redraw their boundaries and see how they react.
The boundaries are drawn liberally, however. Eleven distinct songs traverse sickly bubblegum ("Where Did The Party Go"), thundering powerpop ("Rat A Tat") and even rap ("The Mighty Fall" featuring Big Sean) to name a few. "Save Rock And Roll" is both diverse in its influences and all too ready to adhere to homogenous pop aesthetics in pursuit of the ultimate hook. They're not all winners by any means, but catchiness runs rampant through some of these tracks and that ought to be remembered while you're busy being offended by the changes on the surface. // 6

Lyrics: Singer Patrick Stump and lyricist Pete Wentz bear a lot of the responsibility to oversee these wholesale changes with tact and class; a catchy melody and smart set of lyrics can do a lot to ease the transition. The early signs aren't great, though they've had stronger rhymes than "I'm gonna change you like a remix/then I'll raise you like a phoenix," that's for sure. Wentz is tentative with his emotional content, unsure of how personal he can get before it starts to distract from the album's charisma, but he has reasonable success with everything else. Standout track "Young Volcanoes" is a neat little package of aspiration and youth idealism and is one of only a few occasions where Stump dials down the vanity and sings intimately. He is wonderfully talented and leads the line impressively but his bombastic melodies, especially coupled with the processed pop backdrop, do seem rather impersonal. // 6

Overall Impression: I always got the impression that Fall Out Boy were born popstars, but had to grow up playing in punk bands before they could figure out how to spread their wings. As it happens, their transformation has been a very public one but the advantage of coming back from a hiatus is that this can be a clean break. This is Fall Out Boy 2.0, but not everybody's gonna like it. The devout pop-punker will wretch at the sound but the oblivious radio listener will hardly notice the cracks as the four of them blend into the mainstream pop landscape. No matter the prejudices you bring to it "Save Rock And Roll" is still a postmodern-pseudo-ironic-avant-scene adventure in the end, and it has all of the confusion and some of the fun that Fall Out Boy made a name on. You can't say they don't keep it fresh, but have they got this one right? We'll know that they have if people are still upset about it in two years' time.

Save Rock And Roll
Reviewed by:
daddywilkinson8, on april 19, 2013 5 of 30 people found this review helpful

Sound: Awful awful awful mainstream electronic rubbish! After being a fan of their catchy song-writing prowess on "Take This To Your Grave" and "From Under The Cork Tree" I was pretty much writing off Fall Out Boy as another band fallen under the spell of producing radio-friendly tat to the teenage Radio 1 generation. "Folie A Deux" was not bad - just wasn't what established the band as a popular force in the pop-punk world. After listening to "Save Rock And Roll" I can honestly say that Fall Out Boy should've stayed on "hiatus". Over-produced electronic nonsense with juvenile lyrics and no sign of any "rock and roll"! // 2

Lyrics: Poorly written teenage lyrics - Patrick Stump has excelled himself in mediocrity on "Save Rock And Roll" with a bunch of badly devised songs with some pretty awful rhetoric. The lead single is poor with barely any noticeable guitar and the drumming is very very poor and in place very difficult to pick out. What strikes me the most about the album is that Patrick Stump's voice seems to take on a lot of autotune and vocoder effect - something that again detracts them from their already established place amongst the pop-punk genre. I applaud originality but not in this case - I despise it. // 1

Overall Impression: As sad as it is for a fan of the first three albums to say - Fall Out Boy are dead. "Save Rock And Roll" is not an album that will continue the work put in by Stump and Wentz to establish the band in the pop-punk genre. Gone are the catchy verse-chorus-verse songs with enjoyable guitars and in their place is an album worth of mediocre, electronic rubbish. This review probably won't even get printed and the fanboys will be baying for blood saying - "why did you review something if you don't even like Fall Out Boy anymore?" The answer is simple - I used to love Fall Out Boy but on this performance they are best served in my memory and their back catalogue their only one in my playlist. // 1

Save Rock And Roll
Reviewed by:
kenziethomas13, on may 03, 2013 3 of 4 people found this review helpful

Sound: When they first relesed the single for "My Songs Know What You Did In The Dark (Light Em' Up)" I was a little afraid of what the album was going to turn out like. Personally, I didn't enjoy that song, but I knew that they would pull through and be like the old Fall Out Boy. I will always appreciated their musical talents, and Patrick Stump's amazing vocal range. This album was more pop as well, and featured four different artists, three being R&B/Rap artists. Since the album is called "Save Rock And Roll", if it was going to feature anyone, I expected it to be Rock and Roll artists. Elton John was featured in the song called "Save Rock And Roll", and it's an amazing song! // 6

Lyrics: The lyrics to all of the songs are so catchy! Patrick's range is amazing, and he can hit all sorts of notes! There are a couple pretty cool bass lines as well. I really enjoy the song "Just One Yesterday", I think the instrumentals are fantastic and well as the lyrics. The song really has a lot of emotions in it. I do wish they had some breakdowns in songs, and more highlights of the instruments. In the song "Save Rock And Roll" the lyrics are really inspiring to go out there and save rock and roll. Rap and pop are taking over the classic genre of Rock. // 8

Overall Impression: My favorite Fall Out Boy album would have to be "Infinity On High", but all of the albums are their own style. The most impressive songs on the album would definitely be "The Phoenix", "Alone Together", "Just One Yesterday", and "Young Volcanoes". Those songs stand out the most to me for some reason, I really enjoy those a lot. I love that this album has a really nice flow as you're listening to it from beginning to end, but I don't like that it has so many songs featuring other artists. I know that some artists do that to gain popularity or to help the songs, but honestly, anything Fall Out Boy does, the fans are going to love it no matter what! I really don't think that they needed four songs with features. If this album was stolen or lost, I think I would get something else, or just burn it onto a disc because I have downloaded it onto my computer. But if my computer got stolen as well... Then yes. I would go buy it! I bought this album the day it was realeased, so I was pretty excited to see what FOB had to offer! // 8

Save Rock And Roll
Reviewed by:
KingOfDaStrings, on april 19, 2013 2 of 4 people found this review helpful

Sound: Fall Out Boy had big expectations to live up to after there hiatus (2009-2013) was over. Rumors had been surfacing about whether or not FOB was "getting back together" or not. After watching countless interviews with the band, vocal/guitar frontman Patrick Stump has confirmed that the band never actually broke up, but took a break (side projects, relaxing, family, etc.) But when the band DID come back from there much deserved 4 year vacation, they announced a new album. However, the thing that nobody knew was that Fall Out Boy began writing this album way before they announced the hiatus over. In fact, the band had the album FINISHED before the project was announced. Little was known about that album at this time except for the release of the chart-topping single "My Songs Know What You Did In The Dark (Light 'Em Up)", the first single off the album. This song is very gritty and up beat and was the perfect song to announce the band as reunited. The next single released was "The Phoenix", which many will refer to as the "anthem" of the album (next to "Save Rock And Roll). Sounds range in this album about as high as Patrick's vocals go. Songs like "Rat A Tat" sounds about as close to old FOB as it gets. The guest spots on this record had me nervous, the band knew what they were doing. Big Sean's bridge on "The Mighty Fall" was better that expected. Elton John's vocals on "Save Rock And Roll" were quite odd (even though Patrick looks like a mini version of Elton).
While the new album can be compared to "Picture Show" by the Neon Trees, FOB introduced us to a brand new sound for them, and while it's nothing like the "Sugar, We're Going Down" quartet you knew back in '05, its still the same band, just with a different taste. // 8

Lyrics: Lyrically this album is straight forward. Compared to past albums where people are still trying to figure out what they songs were about, this album gets right to the point. The lyrics seem to fit ALMOST perfectly with each note. This album has achieved the most cuss words ever on a FOB album, however, it's mostly by the guests artists. Another disappointment on this album was that the band ditched the whole "song title has nothing to do with the actual song" idea that they had on their first 4 albums, which was one of the things that made the band so interesting. Lots of repetitive chorus and hooks on the album.
On a more positive note, there are more positive things to say about the lyrics then there are negative. "Young Volcanoes", one of my favorites off the album, would've been a great closer for the album if "Save Rock And Roll" was never written. It has a really great "we're young, wild, and free" message to it. The lyrics overall on the record aren't overly impressive. There are some really good ones, and some really weak ones. // 7

Overall Impression: This album was one of my most anticipated for 2013. Every morning, I'd wake up and check to see if it'd leaked anywhere. I couldn't wait to get my hands on it, and I was shocked when the first source of the songs came on Facebook right from the official Fall Out Boy page. Fall Out Boy has definitely started a new chapter in their career, and this is for sure not that last album we're hearing from them. The band is set to release a video for each of the songs, and is currently touring with the album in their set list. // 9

the album is called Save rock and roll.... dont name it that way if most of the songs have nothing to do with rock and roll... just saying, their album was OK for THEIR standards, but still, it doesn't do it's name any justice.

*wrote a review with a few possible meanings of the name*
*you should scroll up, man*
From a literary standpoint, you have to understand that rock 'n' roll isn't just a musical genre. In the context of the album, it represents a deep human struggle. The line is "Wherever I go/Trouble seems to follow/I only plugged in to save rock 'n' roll". That's it. The record makes no other allusions to the actual genre but one line suggesting regret over failure to "save rock 'n' roll". Even if taken literally, it's a pop album ending in a song about someone who couldn't save rock 'n' roll...what's wrong with that? The Wall (no, I'm not comparing the two on any other grounds) expresses similar regrets about the war. Does it have to be a "war" genre? (*coughthefinalcutcough*) U2's "Pop" wasn't actually pop, was it? But it had thematic elements regarding pop culture and the like. The "pop" part represented something. Same thing here.
It's just a message. Don't get your panties in a wad.
If we're going to discuss this record, let's at least know what we're talking about.

It's just a message. Don't get your panties in a wad.
this coming from the guy who started discussions with EVERYONE who had something to say about it in the article of my chemical romance calling it quits xD

Oh and by the way, has anyone on this site EVER considered that possibility that "Save Rock and Roll" might be an IRONIC statement? I mean, if you've seen the music video for I Don't Care, it begins with them being trashed for having no guitar solos, wearing eyeliner, etc. So clearly FOB knows what they're doing "Wrong" (Wrong being in the sense to single minded metal heads). I mean I seriously doubt FOB sat down at the end of the day thoroughly convinced that they saved rock and roll. Their music isn't the best, but they're not fking morons.

Nice review, though I think the ratings are brutal. I can't help but think people still measure their performance by the TTTYG and FUCT albums. Not saying thats bad, but sometimes it blurs your judgement too much. Take time to listen, its worth it

Two options
1) Wentz is a pretentious *****
The other one I discuss in my review, which...I dunno, it's been in the submission box for two days now; maybe UG wanted to wait it out so they'd be the only review with any attention.
You're being melodramatic brah
The album's not great, but they didn't do "their very best to just ruin" rock 'n' roll. That was Bon Jovi.

Yeah, UG tends to do that with reviews. That's one reason I stopped actively writing them. You can turn it in a week before the album's release and they'll just let it stew in the submissions until they're sure everyone's read theirs first.

That and the ratings system. Looking at your "Neighborhoods" review, you know exactly what I mean - whether people will rate it well is almost always based on whether they agree with the opinion (rather than analysis) or not. Writing a beaming review will get you a few thumbs up and a couple of thumbs down. Writing a negative review (or even lukewarm, like this one) will get you...well, just look at it. 3/11.

But a classic is defined over time, not upon release. I still find it hard to believe it's possible to objectively give any single album a complete 10/10. There are always at least a couple of hiccups.

You see, this tactic is often used when people actually react with excitement to something mediocre, to the best of my knowledge no one has or is ever going to claim this is a really good record in a serious manner so your comment has left people quite baffled.

yeah lol i didnt even say it in a derogatory way that would piss people off haha but whatever its just a downvote. im probably one of the few people here who genuinely gave this a chance too. not saying no one did but the large majority of the people here probably said its FOB so its shitballs downvoted everything gave the album a one and left. and ive liked a lot of fobs stuff too, right up to folie a deux. i dont mind a poppier direction but i just dont think they executed well here

Well, considering each section was about a paragraph long, there isn't really much, uh, being said here. The first paragraph is an intro, the second says...that it's less rock, perhaps? Which has been the case since 2008. Third paragraph says it's more pop...which, again, doesn't really draw any comparisons between Folie/Soul Punk and this one. The only paragraph with actual information and analysis is the one for lyrics and singing, and all that really says is that it's less personal and there are some weak rhymes. No thematic discussion, no contrast between previous release. It's as if you followed the review submission page's suggestions by the book. The final paragraph doesn't draw any conclusions or state any opinions, and the same can be said for most of the review. You don't justify the ratings you give it (even if they are fair) with discussion of the content. Personal pronouns (you, we'll) are amateurish.
I could go on.

Personal pronoun 'I' is amateurish without justification but others are fine if you ask me, particularly when we're dealing with a musical pinata like Fall Out Boy. Cultivating an audience 'n that.
Since we brought in preview tracks I've dialled back the description a smidgeon because people don't need a running commentary to their own listening. I tried to treat it as a conversation piece because my understanding is - as I put in the intro - that's what Fall Out Boy like and that's what they are on UG as well. They're real comment bait.
There's plenty of comparison with their past, but it's not explicit because being explicit takes words and people can only take so many words before either scrolling to the youtube link or clicking elsewhere.
But I've committed a cardinal sin: reading the comments and *even worse* replying to them, so that's all from me!

Oh, sure. I start arguments all the time - with dsperez88, who harassed me on multiple threads, hh_emo_666, who got pissed after I distinguished pop from electronic...and the guy you're referring to on the Muse thread, who got onto me about grammar.
Yeah, man, I definitely incite argument

You people need to quit taking the Rock and Roll part of all this so literally. I dig quite a few songs off this record, it's definitely not their best but a great listen. They were the first band I liked and I'm glad they're back together

As I look at it, they're not saving rock n roll, the genre,but rather, the attitude, in themselves. This is the most confident and alive the band's ever felt; they didn't make the album anyone expected them to. That's pretty rock n roll.

I'm looking at Allmusic (3.5/5), Alt Press (4/5), EW (B), RS (3.5/5), USA Today (3/4). Only two out of seven reviews that Wiki cites are below 3 stars, and both could be considered about as reputable as UG. The tumblr community seems to like it. The forum community seems to like it. Other websites are giving it good reviews. I don't seem a "majority" disliking at all. Maybe, again, about 2/7. I dunno how good with fractions you are, but, ah...that's not a majority.
>"Google sources"
>doesn't put sources
ok bro

No, dude, look. No hard feelings. I don't mind your opinion. Hell, my review gives about the same rating as the UG team one. I'm not in love with the album myself. But we're not talking about opinion here; we're talking about the "facts" you're presenting. Don't say "reputable sources" are giving negative reviews without giving the sources.
Also I don't think you understand the meaning of the word "troll".
>Getting offended on the internet
Calm dooown, man.

Wat
Dude
Calm down. Nobody's offended. I'm just calling out this "reputable sources" thing because it isn't true. Again, I'm not too into the album either. Our opinions aren't much different, I suspect, but again, that's not what we're discussing.
Seriously, chill out.

I'm not defending it. I tried to keep the conversation on course. If you're not into the album, why did you thumbs-down my utterly lukewarm review?
See, unlike you, some of us don't have to freak out in a cloud of emotional butthurt to a situation.

I prefer to use what knowledge I have of the band to make a decision into whether or not I should buy it (Obviously not this particular album). I don't really give a shit what the reviews say. It's just one guy's opinion...

plenty of people like myself didnt simply dismiss the album. and plenty of people like myself do like their music and didnt say they didnt like the album by saying OMFG FOB SUX COX. not everyones a douchebag bro

"WAAAAA this album sucks cuz it's not rock!"
"WAAAAA Fall Out Boy aren't punk anymore!"
"WAAAAA They're too emo!"
"WAAA They're not emo enough!"
Seriously, it's getting old.
Fall Out Boy is simply a band that will always be criticized, if only because they are Fall Out Boy. Judging from the sound of the record, they're completely aware of this and therefor have zero ****s left to give. They are saying a heartfelt "FUCK YOU" to pretty much every genre and doing whatever they want. I say more power to them! Yeah it's a pop album, but it's a damn good one.
Also the title "Save Rock & Roll," IT'S CALLED IRONY, PEOPLE!

This guy is too right. Forget old Fall Out Boy, this is a completely different album. Took me a few listens to enjoy it, but definitely worth it. The confidence is a major part of what makes it so vibrant, like don'tblink said they did what the hell they wanted and produced a good pop album.

I listened to those two songs.
Never really gave them a chance before, and maybe it's just because I've grown up, but some things about it appeal to me. It's definitely not what I'd call "my thing" - I'm probably not going to listen to the rest of the album - but it certainly was not bad (not that music can be objectively bad anyway).
And even if I didn't enjoy any of it at all, I still wouldn't be posting an angry, poorly thought out comment on here.
LOL JK M3t4lz 4 LYF, KIRK MUSTAINE 4 PRESIDENT 2013

I heard parts of "My songs know what you did in the dark" on espn and other sports stuff, and decided to check out the rest of the album. Could not finish it, bad decision on my part.
Either they don't give a flying shit anymore or enjoy making bad music. Some of their early stuff was at least semi-tolerable, this is just an abomination.

blah. i only like a few of their songs.. this is just... bad >.< like this ain't a scene its an arms race is catchy, i suppose. and dance, dance, and MAYBE sugar we're going down swinging, but this is just BS!! >.< save rock and roll my a**! ..

I'm going against the grain on this one and saying I enjoy it. The pop sensibility was there from their first album. For this one they just decided "**** it, this is the band we are now". The melodies are downright infectious, and I have never heard Stump sound better. But, to each his own, I suppose. It is not going to be everyone's cup of tea.

been a fob fan long before their major debut in 2005 with from under the cork tree.....to me the last 2 albums have been nothing remotely close to what they came up doing. most bands try to become better "muscians" whether physically, mentally or compositionally they have failed in all 3 categories with their last 2 albums. the more poppy you get the less you grow as a "muscian"

It's pop, but it's not bad. It took a few listens for most of the songs to click for me but now a lot of them get stuck in my head.
Take This To Your Grave and Cork Tree are still their best work by far in my opinion, but they changed so much that you can't really compare it. I wish there was a little more real instrumentation on it but whatever, pop is pop.

Lol, I don't remember the last time I've visited a page where there were no dumb, destructive comments.. Hard to grow as a musician when dick heads are telling you all the reasons your music sucks.
You're only lying to yourself when you say you dislike a certain band, song, or even a part of a song. Grow the set of nuts you should have grown a long time ago, and stop saying the whole album sucks, because the band ****ing sucks. On top of that, why not listen to the ****ing album before judging it? ...
Christ, you people are ****ed.

I wanted to hear more of Joe/Andy of what they were making with the Damned Things you know with Scott Ian....but its a very dance record, it seems that is a solo album of patrick, i expected more, don't get me wrong is enjoyable but not a great "comeback", but so far so good...and rock and roll is not only a heavy sound, is an attitude too, maybe you can hate that band but...if you hate them, why are you reading this review in the first place? don't waste your time ...

Well, at least one part of the review was right: If there's one thing Fall Out Boy deserve credit for, it's making sure that even their greatest enemies are talking about them. Love and hate defined their first wind as a goofy pop-punk outfit, but the conversation didn't stop when they went on hiatus in 2009 and as much as they'd hate to it admit it, everybody including UG readers was waiting with baited breath to dissect the title and circumstances of comeback album "Save Rock And Roll".
I used to be and still am fan of Fall Out Boy, it's just that this album is too electronic for me. Maybe I'll grow into it, maybe I won't. But I'm glad they're back.

I personally think its a great album, good as all the other ones. It must suck to be someone who can't enjoy 'music' regardless of the genre, this gladly fits in my current rotation of Killswitch, Brad Paisley, LoG, BTBAM and Twelve Foot Ninja! :-p
I mean really, if its just not your thing thats fine, but finding reasons to hate something just because of stupid pre-concieved notions is just retarded. An open mind is a wonderful thing.

Dude, your lyrics and singing section said everything I would have said, and then made other points that I hadn't even considered but immediately agreed with.
Also, you seemed to praise Soulpunk's lyrics. For some reason I wasn't too fond of it but I think I'll give it another listen now.
I appreciated the "Folie" praise, too. I still (perhaps somewhat embarrassingly) sing bits from that album almost everyday.
It's a very well thought out and even informative (had no idea Elvis Costello appeared on "What a Catch, Donnie") review, imo. Good work.

Amazing how closed minded FOB fans are. I love From Under The Cork Tree and Infinity On High, but I also love Folie A Deux and this album. I don't just want them to keep bringing out FUTCT remakes. When they tried something different on Folie..., people never gave it a chance and they broke up partly because of that. I didn't like it at first but it is now my favourite FOB album. They don't make immediate music anymore, they make clever stuff and stop complaining or we may well lose FOB again.

This album is awful... They shouldve stayed on hiatus.
The quality has just gone downhill.
It started as a blend of music and vocals.
Once Infinity on High hit, the vocals became the main focus and the music fell to the wayside. It just got worse and worse from there.
Sigh...Hopefully the next attempt is better?
"Thanks for the memories"

haha, wow, I get voted down for correcting the song title. This whole comment section of this album review is a joke. Just like whenever Keith Richard rumors about snorting his dads ashes, Lou Reed receiving death threats, or Dave Mustaine into politics.

I'll be honest, I try to listen to this album once a day and some songs do it for me, and some songs just don't. Maybe if I write a review, Gerard Way Jr will down vote it and i really don't give a poop. One thing that really aggrivates me is the lack of guitar work and also the "electronic" feeling of the bass drum. It's so annoying to me. I understand this isn't your typical FOB album, it's supposed to be more pop, but what kind of respect do they give to their fans that aren't 13 and who get in water work squirt fights at a Justin Beiber concert?
In all honestly, I loved Folie a Deux, but this is just a huge experiment of failure.

Nothing like old FOB stuff, but after one listen I could remember how almost every song went straight away. More than I can say for almost anything else that comes out these days!
Take it as what it is (a Pop album) and it's not so bad. Don't like Pop? Don't listen. Looking for Pop-Punk? Search elsewhere.

Why can't you people enjoy something different instead of complaining how the lack of guitar is unbearable? There are other music genres besides rock or metal. Even if FOB's using a bit of electronics here, it doesn't mean they're as bad as Justin Bieber.
Can't lie, I like this album even though it's not really my cup of tea.

I'm a prog fan. I generally listen to music most of society would consider too "complex" or "weird". I heard a few tracks from this record, and although I wasn't amazed by the depth or soul exposed on it, I never got this burning hatred the rest of you seem to have for it. Instrumentally, the album isn't THAT bad. Vocally, Stump is a decent singer. The lyrics... I can't relate, but it's better than a lot of metal lyrics and rap lyrics, so I'll give it that.
It's an average album. Nothing more, nothing less. Not an entirely unenjoyable experience, though. There are some good moments here and there. I just don't feel the need to bash the record so violently.
And the falsetto vocals in "Light Em Up" crack me up. Such a cheesy thing to put on the radio nowadays.